hinz-art.de Paintings+Drawings+temporary-art Informel (text eng)
Works of 1995 - 1997
this exhibition Klaus-G. Hinz gives us a retrospective view of his paintings
created between 1995 and 1997. Whereas in 1995 the artist produced works
predominantly on paper, so now he has chosen canvas as his working material
since he needs a larger format of more robust quality for his impulsive and
Acrylic colours combined with pastel crayons ( ?? ) are often applied in several layers so that these recent compositions acquire a compact character. Because of generous application of colour with a thick brush, the hands or other aids larger formats have been necessary. This underlines the impression of unrestrained spontaneity and clearly demonstrates Hinz`s striving to vary and extend his possibilities of expression, Colours, forms and lines are applied to the canvas without inner reflection or without working out a prior conception. At the same time colours and forms no longer serve as illustrations but represent themselves, meaning that they produce an effect out of their own intrinsic value. Whether a line is considered static or dynamic, or a colour dominant or restrained, is explained by its position on the picture's surface, its size and the relation between these. Proportions and spaces and the intellectual tensions which result from them quite essentially create the quality of these works.
For these new works Hinz has chosen blue, white and yellow – and this has resulted in still further abstraction of the pictures. The new colour selection and the structural arrangement of other elements in the pictures hardly permit associations with the representational. Consequently the artist frees himself and the viewer from the confining limitations of a reputed objectivity of reality and presents instead a composition which is open in all directions and to which the viewer has to give a creative form. The viewer is frankly provoked to search for connections with realities which exist outside the picture. The relationship between the artist, the work and the viewer is created through the compositional structure, which is distinguished by a high degree of openness in content and form. The renunciation of traditional compositional plans as well as recognisable directions in style mirrors the fragility of modern feeling for life, which regards any kind of security as distanced from life and thereby distanced from art. Just because there is nothing definite in these pictures, so they can become a unique field of experiment for the fantasy of the viewer.
Klaus-G.Hinz's works can best of all be classified as Informel painting. This artistic tendency of abstract painting is understood in this respect as innovative since it avoids any reverting to what is in existence beside or in front of the picture (work of art). Neither the world of objects nor any aesthetic norms are obligatory for the Informel. Also, it is not the concern of the movement's representatives to relate their own work to history and to what has been previously achieved because otherwise the openness of forming and formalising the sensations is not guaranteed. It is exactly an essential concern of Informel art to express sensations through spontaneous application of splodges of colour.
The pictures by Klaus-G. Hinz show clearly that the expression of emotion in a spontaneous act of painting is always linked with knowledge of the qualities of communication and self-expression to be found in the material. In the moment of their spontaneous creation colours, forms and lines develop their own dynamics which give each individual painting a tension-filled structure. Each work is thus a representation of an act of expression, which in itself focuses a development of feeling in artistic concentration. In this respect the visual communication in the artist's works has to be understood as an individual and unrepeatable statement. However this does not draw things to a conclusion – rather it makes what is temporary and momentarily-situational as the beginning of a further creative act not only experience-able but also urgently necessary. The artistic nearness of Klaus-G. Hinz to the Informel is shown in that the compositional structure of his paintings is characterised by a high degree of openness. His action studies are more than just a mere expression of the individual unconscious.
Rather in their conscious rejection of borrowings as regards content and formality they try to resist the current tendency towards standardization. Especially because of his insistently unobtrusive message Klaus-G. Hinz`s fantastic pictures, created without following any rules, should encounter the interest of a public possessing artistic ambition. The formal frankness of the paintings is capable of stimulating the viewer to independent associations and thereby transforms him or her into a creative partner of the artist.
Annemarie Heibl, MA
Two of the paintings should be described as examples of the artist`s work. Under consideration here are two similar pictures – Nos. 9/96 and 10/96 – which on closer inspection are, nevertheless, very different:
The rectangular format (No. 9/96) offers the intensive black bar, which tapers to a point, a large area over which it pushes forward from the left-hand edge o f the picture to the middle. In the right-hand half of the picture similarly another black bar can be recognized in an unstable, almost vertical position and though this is visible in it s entirety, the first bar extends beyond the left edge o f the picture. The diffuse edges of both elements in combination with the grey-blue-white background bring about an association with a viscous mass, in which the element on the left is in motion towards the one on the right. Despite the aggressive point of the curve/arc the movement has a relatively peaceful effect. What is conclusive for this impression is the fact that this conspicuous point is placed exactly in the centre of the picture, a position which conveys calmness, static and balance.
On the other hand the movement and energy in the second picture (No. 10/96) are to be judged quite differently. The black and grey element, flowing into the picture from the left, has already crossed a greater part of the surface; it now executes an upward movement and locates itself just short of the meeting point with the other bar. This appears to want to evade (a meeting / collision?) as to a large extent it has already left the picture surface. Thin blue lines between the elements evoke the impression of a mass which is concentrated together by energy. Although in this painting the tone of the bar is very much softer and its point very much rounder, nevertheless the movement gives a more aggressive and faster effect – caused by the extent of penetration in the picture area. The thin red line, which follows the entire border of the picture, at the same time assumes the role of compensating these forces and as a consequence holds the picture in balance.
"Galeri Kafe Cemara 6" Jl. HOS Cokroaminoto No. 9-11, Jakarta 10350, Telepon 324505